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Clark, T. J. (1985) The painting of modern life: Paris in the art of Manet and his followers. London: Thames and Hudson.
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Collins, Bradford R. (1996) 12 views of Manet’s Bar. Princeton, N.J.: Princeton University Press.
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Constable, John, Beckett, R. B., and Constable, John (1968) John Constable’s correspondence Vol. 6. Ipswich: Suffolk Records Society.
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Constable, John, Beckett, R. B., and Suffolk Records Society (1976b) John Constable’s correspondence Vol 1. Ipswich: Boydell Press [for the Suffolk Records Society].
Constable, John, Constable, John, and Beckett, R. B. (1964) John Constable’s correspondence Vol 2. Ipswich: Suffolk Records Society.
Constable, John, Constable, John, and Beckett, R. B. (1965) John Constable’s correspondence Vol 3. Ipswich: Suffolk Records Society.
Cowley, Robert L. S. (1983) Marriage a-la-mode: a review of Hogarth’s narrative art. Manchester: Manchester University Press.
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David Bindman (1981) ‘Roubiliac in Westminster Abbey’, Oxford Art Journal, 4(2), pp. 10–16. Available at: http://www.jstor.org.oxfordbrookes.idm.oclc.org/stable/1360135?seq=1#page_scan_tab_contents.
Davies, Martin, Gordon, Dillian, and National Gallery (Great Britain) (1988) The early Italian schools before 1400. Rev. ed. London: National Gallery.
Davies, Martin and National Gallery (Great Britain) (1957) French school. 2nd ed. (revised). London: National Gallery.
Dekker, Elly and Lippincott, Kristen (1999) ‘The Scientific Instruments in Holbein’s Ambassadors: A Re-Examination’, Journal of the Warburg and Courtauld Institutes, 62, pp. 93–125. Available at: http://www.jstor.org.oxfordbrookes.idm.oclc.org/stable/751384?seq=1#page_scan_tab_contents.
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Downes, Kerry (1980) Rubens. London: Jupiter.
Dunkerton, Jill (1991) Giotto to Dürer: early Renaissance painting in the National Gallery. New Haven, CT: Yale University Press in association with National Gallery Publications.
Dunkerton, Jill, Foister, Susan, and Penny, Nicholas (1999a) Dürer to Veronese: sixteenth-century painting in the National Gallery. New Haven: Yale University Press in association with National Gallery Publications.
Dunkerton, Jill, Foister, Susan, and Penny, Nicholas (1999b) Dürer to Veronese: sixteenth-century painting in the National Gallery. New Haven: Yale University Press in association with National Gallery Publications.
Egerton, Judy and National Gallery (Great Britain) (1997) Hogarth’s Marriage A-la-mode. London: National Gallery.
Egerton, Judy and National Gallery (Great Britain) (1998a) The British school. London: National Gallery Publications.
Egerton, Judy and National Gallery (Great Britain) (1998b) The British school. London: National Gallery Publications.
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Fermor, Sharon, Raphael, and Victoria and Albert Museum (1996) The Raphael tapestry cartoons: narrative, decoration, design. London: Scala Books in association with the Victoria and Albert Museum.
Finley, G. (1988) ‘Turner and the steam revolution’, Gazette des beaux-arts, 112(July-August), pp. 19–30.
Fleming-Williams, Ian (1990) Constable and his drawings. London: Philip Wilson.
Foister, Susan et al. (1997) Holbein’s ambassadors: making & meaning. London: National Gallery.
Foister, Susan et al. (2000) Investigating Jan van Eyck. Turnhout: Brepols.
Foister, Susan and Tate Britain (Gallery) (2006) Holbein in England. London: Tate.
Gage, J. (1972) Turner: Rain, steam and speed. London: Allen Lane the Penguin Press.
Gage, John (1972) Turner: Rain, steam and speed. New York: Viking Press.
Gage, John (1973) ‘Gautier, Turner and John Martin’, The Burlington Magazine, 115(843). Available at: http://www.jstor.org.oxfordbrookes.idm.oclc.org/stable/877386?seq=1#page_scan_tab_contents.
Galvin, Carol (1990) ‘The Construction of Roubiliac’s Shelburne and Argyll Models’, The Burlington Magazine, 132(1053). Available at: http://www.jstor.org.oxfordbrookes.idm.oclc.org/stable/884511?seq=1#page_scan_tab_contents.
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Gordon, Dillian, Monnas, Lisa, and Elam, Caroline (1997) The regal image of Richard II and the Wilton Diptych. London: Harvey Miller.
Gordon, Dillian and National Gallery (Great Britain) (1993) The Wilton Diptych. London: National Gallery Publications.
Gould, Cecil (1976) Seurat’s ‘Bathers, Asnières’ and the crisis of Impressionism. London: National Gallery.
Gould, Cecil and National Gallery (Great Britain) (1975) The sixteenth-century Italian schools. London: National Gallery Publications.
Gould, C.H.M. (1976) The studio of Alfonso d’Este and Titian’s Bacchus and Ariadne: a re-examination of the chronology of the Bacchanals and of the evolution of one of them. London: National Gallery.
Hall, Edwin (1994) The Arnolfini betrothal: medieval marriage and the enigma of Van Eyck’s double portrait. Berkeley, Calif: University of California Press.
Hallett, Mark (2000) Hogarth. London: Phaidon.
Hallett, Mark et al. (2006) Hogarth. London: Tate.
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Harwood, E.S. (1985) ‘Constable’s ’Church under a cloud’ : some further observations’, Turner studies: his art & epoch 1775-1851, 5(1), pp. 27–28.
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Hogarth, William and Burke, Joseph (1955) The analysis of beauty, with the rejected passages from the manuscript and autobiographical notes. Oxford: Clarendon Press.
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Hogarth, William, Paulson, Ronald, and Paul Mellon Centre for Studies in British Art (1997) The analysis of beauty. New Haven: Published for the Paul Mellon Centre for British Art by Yale University Press.
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Homer, William Innes (no date) Seurat and the science of painting. Cambridge, Mass: M.I.T. Press.
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Hope, Charles (1971b) ‘The “Camerini d’Alabastro” of Alfonso d’Este-II’, The Burlington Magazine, 113(825). Available at: http://www.jstor.org.oxfordbrookes.idm.oclc.org/stable/876809?seq=1#page_scan_tab_contents.
Hope, Charles (1980) Titian. London: Jupiter.
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Leighton, John et al. (1997) Seurat and the Bathers. London: National Gallery.
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Mace, R. (1976) Trafalgar Square: emblem of empire. London: Lawrence and Wishart.
MacLaren, Neil, Brown, Christopher, and National Gallery (Great Britain) (1991) The Dutch School, 1600-1900. (2nd ed.), rev.expanded. London: National Gallery.
Margaret D Carroll (1993) ‘“In the Name of God and Profit”: Jan van Eyck’s Arnolfini Portrait’, Representations [Preprint], (44). Available at: https://www-jstor-org.oxfordbrookes.idm.oclc.org/stable/2928641.
Martin, Gregory and National Gallery (Great Britain) (1970) The Flemish School, circa 1600 - circa 1900. London: National Gallery.
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North, John David (2004) The Ambassadors’ secret: Holbein and the world of the Renaissance. Rev. ed. New York: Hambledon and London.
Oxford art online (no date). Oxford: Oxford University Press. Available at: http://oxfordbrookes.idm.oclc.org/login?url=http://www.oxfordartonline.com/.
Panofsky, Erwin (1969) Problems in Titian, mostly iconographic. London: Phaidon.
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Paulson, Ronald (1992a) Hogarth, vol. 1. Cambridge: Lutterworth Press.
Paulson, Ronald (1992b) Hogarth, vol. 2. Cambridge: Lutterworth Press.
Paulson, Ronald (1993) Hogarth, vol. 3. Cambridge: Lutterworth Press.
Paulson, Ronald and Paul Mellon Centre for Studies in British Art (1971) Hogarth: his life, art, and times Vol. 1. New Haven: Yale University Press for the Paul Mellon Centre for Studies in British Art.
Penny, Nicholas (1993) The materials of sculpture. New Haven: Yale University Press.
Plesters, J. (1990) ‘Raphael’s Cartoons for the Vatican Tapestries : a brief report on the materials, technique and condition.’, in The Princeton Raphael Symposium: science in the service of art history. Princeton: Princeton University Press.
Postle, M. (1997) ‘Hogarth’s Marriage à-la-mode : a re-inspection of The Inspection’, Apollo, 146(November), pp. 38–39.
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Raphael Cartoons - Victoria and Albert Museum (no date). Available at: http://www.vam.ac.uk/page/r/raphael-cartoons/.
Rembrandt Harmenszoon van Rijn et al. (1991) Rembrandt: the master & his workshop : paintings. New Haven: Yale University Press in association with National Gallery Publications, London.
Reynolds, Graham, Constable, John, and Paul Mellon Centre for Studies in British Art (1984) The later paintings and drawings of John Constable. New Haven (Conn.): Published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
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Rosenthal, Lisa (2005) Gender, politics, and allegory in the art of Rubens. New York: Cambridge University Press.
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Ross, Novelene (1982) Manet’s Bar at the Folies-Berg ere: and the myths of popular illustration. Ann Arbor, Mich: UMI Research Press.
Rubens, Peter Paul and Magurn, Ruth Saunders (1971) The letters of Peter Paul Rubens. Cambridge (Mass.): Harvard University Press.
Rubin, James Henry (2008) Impressionism and the modern landscape: productivity, technology, and urbanization from Manet to Van Gogh. Berkeley, Calif: University of California Press.
Satkowski, Jane, Maginnis, Hayden B. J., and Georgia Museum of Art (2000) Duccio di Buoninsegna: the documents and early sources. Athens, GA: Georgia Museum of Art, University of Georgia.
Scattergood, V. J. and Sherborne, J. W. (1983) English court culture in the later Middle Ages. New York: St. Martin’s Press.
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Shearman, John and National Gallery of Art (U.S.) (1992b) Only connect: art and the spectator in the Italian Renaissance. Princeton, N.J.: Princeton University Press.
Shearman, John and National Gallery of Art (U.S.) (1992c) Only connect: art and the spectator in the Italian Renaissance. Princeton, N.J.: Princeton University Press.
Simon, Robin et al. (1997) A rake’s progress: from Hogarth to Hockney. London: Apollo Magazine.
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Smith, Paul (1997) Seurat and the avant-garde. New Haven: Yale University Press.
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Uglow, Jennifer S. (1997) Hogarth: a life and a world. London: Faber.
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Whinney, M. (1964) Sculpture in Britain, 1530 to 1830. Harmondsworth: Penguin.
White, Christopher (1987) Peter Paul Rubens: man & artist. New Haven: Yale University Press.
White, Christopher et al. (1999) Rembrandt by himself. London: National Gallery Publications.
White, John (1973) ‘Carpentry and Design in Duccio’s Workshop: The London and Boston Triptychs’, Journal of the Warburg and Courtauld Institutes, 36, pp. 92–105. Available at: http://www.jstor.org.oxfordbrookes.idm.oclc.org/stable/751159?seq=1#page_scan_tab_contents.
White, John (1979) Duccio: Tuscan art and the medieval workshop. London: Thames and Hudson.
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